A Large Artwork By Richard Kessler American 20thc

If you’ve encountered a listing or inherited piece described as “A Large Artwork by Richard Kessler, American 20thc,” you’re not alone. Auction houses and dealers routinely use compact labels—name, nationality, century—to signal an attribution and era without overcommitting on specifics. For collectors and appraisers, the challenge is to convert that short tag into a disciplined assessment of authorship, date, condition, and fair market value. This guide outlines how to research, authenticate, and appraise such a work, with special attention to large-format paintings and works on paper.

What “American 20thc” Really Signals

The shorthand “American 20thc” typically means:

• The artist is believed to be American, and the work was created sometime in the 1900s.
• The house may not be confident about an exact year or early/late period.
• It is not necessarily a guarantee of the artist’s birth nationality; it can describe the working context (an artist working in the U.S.).

Watch the wording surrounding the name:

• By: The auctioneer or dealer believes it is an original work by the named artist.
• Attributed to: Evidence suggests authorship, but there’s not definitive proof.
• Circle of / School of / Follower of: Created by someone near the artist or influenced by them, not the artist.
• In the manner of / After: A later work in the style of the artist, sometimes a reproduction or homage.
• Signed vs. Bears signature: “Signed” means the signature appears to be by the artist’s hand; “bears signature” can indicate a later or suspicious inscription.

Understanding these qualifiers is essential for setting expectations and value. The more qualified the attribution, the more you must rely on independent documentation and comparative research.

Who Might “Richard Kessler” Be? Approach Attribution Carefully

Multiple people can share the same name; not all will be studio artists. Some may be designers, hoteliers, or professionals in adjacent creative fields, and not all are 20th-century painters or printmakers. When you see “Richard Kessler, American 20thc,” proceed by elimination and evidence:

• Signature comparison: Gather clear images of the signature, initials, or monogram. Note handwriting characteristics: slant, pressure, letter formation, spacing, and whether the signature is integrated into the composition or added later.
• Subject, style, and technique: Compare the work’s subject matter and paint handling with documented examples of artists named Richard Kessler. Look for recurring themes (coastal scenes, abstract forms, figurative work), palette choices, and surface treatment (brushwork vs. palette knife).
• Materials and supports: Check whether the canvas, panel, paper, or pigments align with the purported date. A 1950s American painting on a modern synthetic primed canvas may require explanation.
• Labels and inscriptions: Gallery stickers, exhibition tags, framers’ labels, and inventory numbers on the verso can be more illuminating than the signature. They can reveal city, gallery name, date ranges, and stock codes.
• Provenance: Bills of sale, correspondence, gallery invoices, and loan forms establish ownership history and often link the piece to a confirmed artist identity.
• Market footprint: Search for past auction records under different name variants: Richard Kessler, R. Kessler, Rich Kessler. Be mindful that not every result will relate to the same person; align by medium, subject, and period.

The goal is to move the work along the spectrum from “labeled as” to “documented as” by piling up consistent evidence.

Understanding “Large”: Scale, Medium, and Display

“Large” is relative, but in the market it often means above 24 x 36 inches (61 x 91 cm) framed, with major implications:

• Presence and impact: Large works command attention, which can increase desirability for certain subjects (abstracts, landscapes) but limit residential display options.
• Shipping and handling: Oversize works incur higher transport, crating, and insurance costs. Stretchers may need reinforcing; glazing on works on paper adds weight.
• Framing costs: Large custom frames and archival glazing are materially more expensive; a substantial existing frame can be a value add.
• Condition sensitivity: Larger canvases are more prone to stretcher bar impressions, corner abrasions, and vibration damage. Works on paper may show waviness if improperly hinged.

Document actual image size, sight size (visible area within the frame), and framed size. Buyers and insurers rely on precise measurements.

Signatures, Inscriptions, and Back-of-Canvas Evidence

The front inscription is only part of the story. Carefully examine:

• Paint layer vs. signature: Use raking light and magnification to see if the signature sits above the final varnish (typical) or on varnish after the fact (suspicious). Check if pigment and aging match the surrounding paint.
• Verso writing: Artist’s name, title, date, medium notes, or a studio stamp can corroborate authorship.
• Labels: Gallery or exhibition labels can pin down date windows. Framers’ labels can indicate city and decade.
• Hardware and stretchers: Hand-forged nails, keyable wooden stretchers, or factory staples can help date the support. Mismatches between claimed date and hardware are red flags.
• Paper and watermarks: For works on paper, watermarks help narrow date and origin. Note sheet edges (deckle) and mounting methods.

Photograph all inscriptions and labels in high resolution. Transcribe exactly, including punctuation and spelling.

Condition and Conservation Factors That Drive Value

Condition is not cosmetic; it’s a primary value driver:

• Paint layer: Look for craquelure (fine cracking), cleavage (lifting), flaking, overcleaning, abrasions, or retouching. UV light can help distinguish original paint from restorations.
• Support: For canvas, check for tears, punctures, deformations, re-lining, or significant stretcher bar impressions. For paper, look for foxing, staining, acid burn, tears, creases, and fading.
• Varnish and surface: Yellowed or uneven varnish can mask colors. Bloom (a hazy veil) suggests moisture issues.
• Frame condition: While secondary, original frames can carry historical and monetary value; damaged frames may still merit conservation if original to the work.

Use neutral, descriptive language in condition reports. Avoid value-laden terms like “excellent” or “poor” without specifics. Note observable issues and conservation history if known.

Market Research: Comparable Sales and Price Drivers

To form a nuanced appraisal, build a matrix of comparables:

• Medium: Oil on canvas generally outperforms works on paper; original paintings outpace prints. Limited-edition prints can be valuable if early state, low number, and well-documented.
• Size: All else equal, larger works tend to bring higher prices, but very large works can narrow the buyer pool.
• Period: Early, breakthrough, or mature-period works often command premiums; late-period or workshop pieces may lag.
• Subject: Iconic subjects (e.g., a signature series or recognizable motif) do better than atypical themes.
• Provenance and exhibition history: Museum exhibitions, reputable gallery sales, or publication in a catalog can materially increase value.
• Condition: Stable, minimally restored works typically sell better. Significant structural repairs depress prices unless the artist’s market is exceptionally strong.

When surveying auction results, align comparables by subject, period, size, and medium. If you find multiple “Richard Kessler” entries, segregate by visual and material evidence to avoid cross-attribution. Note sale date, venue, estimate vs. hammer price, and whether the lot was passed (unsold). Use these data points to triangulate a fair market value range, expressed as a reasoned opinion rather than a definitive figure.

Authenticity Red Flags and How to Address Them

Be cautious of:

• Inconsistent materials: Modern phthalocyanine blues in a painting dated 1910, or modern staples on a stretcher supposedly from 1900–1920.
• Suspicious aging: Artificial craquelure, uniformly browned varnish, or sanded edges to mimic wear.
• Misaligned narrative: A signature in an anomalous style, or a verso inscription in a marker type unlikely for the era.
• Overly helpful labels: Generic gallery labels with no address or phone, unverifiable awards, or mismatched typefaces.

If concerns arise:

• Seek a professional opinion: A qualified appraiser (USPAP-compliant), conservator, or a specialist dealer in 20th-century American art can examine the work in person.
• Request a conservation assessment: Conservators can identify materials, stratigraphy, and restoration history that inform dating and authenticity.
• Build a dossier: Assemble all photographs, condition notes, provenance documents, and your comparative research for expert review.

Documentation and Provenance: Building a Solid File

Provenance often decides whether an attribution holds:

• Chain of ownership: From the artist or artist’s studio to a gallery, to private collectors, to the present owner.
• Sales documents: Invoices, receipts, consignment agreements.
• Exhibition and publication history: Catalog entries, exhibition checklists, postcards, or reviews.
• Photographic evidence: Period photos of the work on a wall or in a show, with dates and locations.

If a catalog raisonné exists for the artist you’re researching, inclusion can be authoritative. If not, gallery archives, period reviews, or estate records may stand in. Always preserve originals and provide legible scans for any inquiry.

Insurance, Appraisal Types, and When to Call a Professional

Understand value contexts:

• Fair Market Value (FMV): The price between willing buyer and seller without compulsion, often used for estate and charitable donation purposes.
• Replacement Value (RV): Retail-level cost to replace with a similar item, used for insurance.

When the stakes are meaningful—estate planning, donation, or a potential sale—commission a written appraisal from a qualified appraiser. Provide:

• Accurate measurements, unframed and framed
• High-resolution images, front, back, signature, and labels
• Condition summary and any conservation records
• Provenance timeline and documents

A conservator can provide a condition report and treatment estimate, which can influence sale strategy and insurance decisions.

Care, Storage, and Handling for Large Works

Large artworks need special care:

• Climate: Stable temperature and humidity; avoid basements and attics. For paintings, 40–55% RH is generally safe; avoid extreme fluctuations.
• Handling: Two people whenever possible. Carry paintings by the frame, not the top stretcher bar or canvas edge.
• Packing: Use rigid edge protectors, foam or corrugated boards, and corner supports. For long-distance transport, consider soft-packing with Tyvek and bubble wrap, then custom crating.
• Hanging: Use appropriate wall anchors, D-rings, and a cleat system for heavy frames. Keep out of direct sunlight; use UV-filtering glazing for works on paper.

Practical Appraisal Checklist

• Identify the work

  • Record title (if any), medium, dimensions (image, sight, framed), and orientation.
  • Photograph front, back, signature, labels, and condition issues.

• Evaluate authorship

  • Compare signature and style to verified examples for “Richard Kessler” candidates.
  • Note any qualifiers in prior listings: attributed to, circle of, manner of.

• Document provenance

  • Compile bills of sale, gallery tags, exhibition records, and correspondence.
  • Create a chronological ownership list.

• Assess condition

  • Describe paint layer and support; note restorations and damages.
  • Consider a conservator’s report for significant works.

• Research the market

  • Gather comparable sales by medium, size, subject, and period.
  • Distinguish between original works and prints/editions.

• Determine value context

  • Define the intended use: FMV for sale/estate vs. RV for insurance.
  • Draft a reasoned value opinion with supporting comparables.

• Plan logistics

  • Estimate framing, conservation, and shipping costs for large-scale works.
  • Choose a sales venue (auction, dealer, private sale) appropriate to the piece.

FAQ

Q: How can I tell if my “Richard Kessler” is an original painting or a print? A: Examine the surface under magnification. Original paintings show texture from brush or knife; prints have uniform dot or plate patterns. Look at the edge: prints may have plate marks (intaglio) or a halftone dot structure (reproductions). UV light can also reveal overprinted signatures.

Q: Does the frame add value? A: Yes, if it is original to the work, period-appropriate, or of high craftsmanship. A custom, high-quality frame also reduces buyer costs. Damaged, non-original frames have limited impact but can influence presentation.

Q: What measurements should I report? A: Provide three: image size (painted or drawn area), sight size (visible area within the frame), and overall framed size. Use inches and centimeters, and note orientation (landscape/portrait).

Q: What does “bears signature” mean? A: It indicates a signature is present but might not be by the artist’s hand, or its authenticity is uncertain. Treat it as a prompt for deeper verification rather than conclusive evidence.

Q: How do I ship a large painting safely? A: Soft-pack with glassine or Tyvek, corner and edge protectors, and foam boards; then crate for long distances. Use professional art shippers for valuable pieces; standard movers often lack the right materials and protocols.

By methodically building evidence—on authorship, date, condition, and market context—you can transform a sparse label like “A Large Artwork by Richard Kessler, American 20thc” into a reliable appraisal narrative. That diligence protects you, informs buyers, and increases the odds of a fair and successful outcome.